This collection, co-edited with  Professor Karen Randell and Professor Karen Ritzenhoff, offers new interpretations of figures emerging from representations of terrorism and counterterrorism: the male hero, female agent, religious leader, victim/perpetrator, and survivor. This collection of essays by a broad array of international scholars reflects the altered image-making processes that have developed from George W. Bush's "war on terror." Building on current literature on media and terrorism, this volume analyzes the most recent technological developments that have impacted the way we experience terrorism: online videos, social media, cartoons, media feeds, and drones. The authors address different time periods, different terrorist groups, and explore the way filmmakers and television producers from the USA, Europe, South Africa, and the Middle East are documenting modern wars in popular culture.

This collection of essays positions Moore within a developing and expanding international readership during the course of the nineteenth century. In accounting for the successes he achieved and the challenges he faced, recurring themes include: Moore’s influence and reputation; modes of dissemination through networks and among communities; also, the articulation of personal, political, and national identities. This book, the product of an international team of scholars, is the first to focus explicitly on the reputations of Thomas Moore in different parts of the world, including Bombay, Dublin, Leipzig, and London, as well as America, Canada, Greece, and the Hispanic world.

This is the first full-length study to focus on the staging of Samuel Beckett's drama in Ireland and Northern Ireland. Beckett's relationship with his native land was a complex one, but the importance of his drama as a creative force both historically and in contemporary practice in Ireland and Northern Ireland cannot be underestimated. Drawing on previously unpublished archival materials and re-examining familiar narratives, this volume traces the history of Beckett's drama at Dublin's Abbey and Gate Theatres as well as bringing to light unexamined and little-known productions such as those performed in the Irish language, Druid Theatre Company's productions, and those of Dublin's Focus Theatre.

Edited by Stefano Baschiera and Miriam De Rosa, this collection draws on a broad range of theoretical disciplines to go beyond the representational approach to the analysis of domestic space in cinema, in order to look at it as a dispositif. Adopting this innovative two-fold approach that couples representation and dispositif, the home is studied as an architecture, as the place that embodies, defines and perpetuates the family history, as the milieu of gender and generational struggle, as well as the first site where manifestations of power unfold.

A residency in 2017 at the International Iberian Nanotechnology Laboratory, in Braga, Portugal, was an opportunity for Pedro Rebelo to discover the world of nanotechnology research, in particular through following researchers working on a project in the area of food safety. Rebelo’s primary interest in sound led him to explore the sonorities of the research processes, the labs, the machinery and the entire sonic environment within which researchers operate at INL. The richness of this environment is remarkable, as researchers gradually “tune in” to specific sounds and patterns that ultimately embed their sense of time and space. From the blips of a certain piece of equipment, the huge air handling fans, the hiss of pouring liquid nitrogen, to the piercing sharpness of ultrasound “baths” used to mix specific compounds, this sound world is full of signs, full of aural cues saying “listen to me!”

The residency resulted in a sound installation at GNRation and then it developed into a further exploration of the sound materials collected in the two pieces presented in this release.

This book addresses the need for critical scholarship about contemporary dance practices in Ireland. Bringing together key voices from a new wave of scholarship to examine recent practice and research in the field of contemporary dance, it examines the excitingly diverse range of choreographers and works that are transforming Ireland’s performance landscape.

Songs for a Revolution makes available twenty-two protest songs of the period up to and including the 1848 Revolution in Germany along with a reception history of the songs through their revival after 1945. The songs reflect the new, oppositional political consciousness that emerged during the post-1830 period of restoration and led to the revolution. The book makes use of broadsides, songbooks, newspaper reports, and manuscripts to document the songs' transmission and shed light on the milieus in which they circulated. It also demonstrates how the appropriation of these songs by the German Liedermacher and folk scene shaped today's cultural memory of the 1848 period. It illuminates the functioning of political ideology in these reception processes, which in turn have given rise to myths that have influenced the discourse on the 1848 songs.

When Joseph II placed his opera buffa troupe in competition with the re-formed Singspiel, he provoked an intense struggle between supporters of the rival national genres, who organized claques to cheer or hiss at performances, and encouraged press correspondents to write slanted notices. It was in this fraught atmosphere that Mozart collaborated with librettist Lorenzo da Ponte on his three mature Italian comedies—Figaro, Don Giovanni, and Così fan tutte.

In Cabals and Satires: Mozart's Comic Operas in Vienna, Ian Woodfield brings the fascinating dynamics of this inter-troupe contest into focus. He reveals how Mozart, while not immune from the infighting, was able to weather satirical attacks, successfully negotiate the unpredictable twists and turns of theatre politics during the lean years of the Austro-Turkish War, and seal his reputation with a revival of Figaro in 1789 as a Habsburg festive work. Mozart's deft navigation of the turbulent political waters of this period left him well placed to benefit from the revival of the commercial stage in Vienna—the most enduring musical consequence of the war years.

This series tells the fascinating story of Ireland's lighthouses and their continuing importance in modern Irish life. Visually spectacular the series features stunning footage of Ireland's lighthouses and reveals how Ireland became a world leader in lighthouse engineering.

Between 2005 and 2007 UN peacekeeping troops carried out several raids on Cité Soleil, an economically-depressed neighbourhood of Port-au-Prince in Haiti. The raids were targeted against leaders of criminal gangs but scores of other people were killed, including children, and many more injured. Amnesty International has repeatedly called on the UN to carry out an impartial investigation into these deaths and publish the results: but it has not done so.

This documentary, directed by Cahal McLaughlin and Siobhán Wills (52 mins) | returns to Cité Soleil and using participatory practices examines the impact of those raids on the community and to find out how victims of those raids have fared in the ten years since they occurred.

Writing ‘The Ontology of the Photographic Image’ in 1945, André Bazin identified the essence of the photographic image (and, therefore, the moving image) in its physical, indexical relationship to the material environment, its formation in reaction to the light reflecting from the surfaces of the world. Bazin, of course, had in mind the analogue, photochemical image. Can we consider the digital image, captured by a light-sensitive chip, to be similarly defined by an indexical relationship to the material world? Does the digital image possess as ‘strong’ an indexical relationship to the physical world as the analogue image? By bringing together analogue and digital images of the same location, Standing Ground is designed to juxtapose the two media in the area of indexicality. The work also considers whether the analogue is a more tactile and intuitive technology than the digital.  It presents us with contrasting visual treatments of space, and a complex of interlocking ‘looks’.

Regarding the Real develops an original approach to documentary film, focusing on its aesthetic relations to visual arts such as animation, assemblage, photography, painting and architecture. Throughout, the book considers the work of figures whose preferred film language is associative and fragmentary, and for whom the documentary is an endlessly open form; an unstable expressive phenomenon that cannot but interrogate its own narratives and intentions. Combining close analysis with cultural history, the book re-assesses the influence of the modern arts in subverting structures of realism typically associated with the documentary.

Drawing on a range of cities and conflicts from Europe, Africa and the Middle East, the collection explores the post-conflict condition as it is lived and expressed in modern cities such as Berlin, Belfast, Bilbao, Beirut, Derry, Skopje, Sarajevo, Tunis, Johannesburg and Harare. Post-Conflict Performance, Film and Visual Arts: Cities of Memory investigates how the memory of conflict can be inscribed in historical monuments, human bodies and hermeneutic acts of mapping, traversing, representing, and performing the city. It offers a comparative survey of the complex and often controversial encounters between public art, political memory and commemoration in divided societies, as well as offering insights into the political and ethical difficulties of balancing the dynamics of forgetting and remembering.

This is the first book on British theatre historiography. It traces the practice of theatre history from its origins in the Restoration to its emergence as an academic discipline in the early twentieth century. In this compelling revisionist study, Richard Schoch reclaims the deep history of British theatre history, valorizing the usually overlooked scholarship undertaken by antiquarians, booksellers, bibliographers, journalists and theatrical insiders, none of whom considered themselves to be professional historians. Drawing together deep archival research, close readings of historical texts from the seventeenth, eighteenth and nineteenth centuries, and an awareness of contemporary debates about disciplinary practice, Schoch overturns received interpretations of British theatre historiography and shows that the practice - and the diverse practitioners - of theatre history were far more complicated and far more sophisticated than we had realised.

This book explores how film and moving image can be used as sources. Aimed at those who want to use film and moving image as the basis for research and offers advice on research methods, theory and methodology, archival work and film-based analysis, it draws on the disciplines of film and history to offer advice for students and researchers in these fields.

Adopting an interdisciplinary approach, The Visual Music Film explores the concept and expression of musicality in the visual music film, in which visual presentations are given musical attributes such as rhythmical form, structure and harmony.

This book forges exciting and provocative new links between a range of theories and practices in texts that explore topics as varied as object-oriented ontology, game theory, ethical responsibility and breath. In improvisatory fashion, it has been edited so that it weaves the texts amongst each other, subversively inserting a tactile piece of text - a text interlaced, as a woven cloth, among the contributing authors. The writings in this volume are both timely and diverse, exploring as they do an array of interdisciplinary and critical discourses, thereby illuminating the field of improvisation from different perspectives within the radical and diverse contexts that undercut contemporary improvisation studies and practices. It consists of eight chapters as researched by practising musicians and theorists and an introduction by one of the most inspiring improvisers of our generation.